王淑鈴X 柏丹 X張芳薇
Suling WANG x Daniel PULMAN x Fangwei CHANG
16：30 開幕 Opening
王淑鈴 (台灣台中，1963-) 與柏丹 (Daniel Pulman, 英國曼徹斯特，1975-)，兩人相遇於英國倫敦皇家藝術學院，輾轉周遊城市與鄉間，帶著故鄉的記憶受他鄉滋養，共同編織「山的語言」。展名「山的語言」，源自兩位藝術家於倫敦生活期間共同觀賞由劇作家哈羅德˙品特（Harold Pinter）所編撰的同名獨幕劇，觀後的衝擊長年盤旋於王淑鈴的心中，由此而催生出此項繪畫雙個展「山的語言」。
從英國曼徹斯特到台中清水，藝術家柏丹，竟在二十一世紀的現代，實踐十八世紀歐洲盛行的壯遊（Grand Tour），在因為語言與文化隔閡而產生的疏離冷峻的異文化關係裡成為一位當代漫遊者（Flâneur）。此次展出的《谷關系列》為柏丹兩年前於台中群山旅行期間偶遇一群身體有著刺青，於大甲溪畔休憩、游泳的人群，他透過獨到的厚塗繪畫(impasto painting)表現材料的物質張力，具象的鄉野風景也因抽象的色塊呈現「去熟悉化」(defamiliarization)之視覺上的錯覺。《谷關系列》是柏丹對台灣人物景致透過繪畫語彙的凝視與雕琢，將壯麗的自然景緻透過他嫻熟駕馭繪畫媒材，邀請觀者參與其中。
Suling WANG (b. 1963, Taichung, Taiwan) and Daniel PULMAN (b. 1975, Manchester, UK) met at the Royal College of Art in London, UK. Having toured many cities and rural regions, they have been inspired by many places while carrying with them the memories of their respective histories. These experiences have led them to co-create their latest exhibition, Mountain Language. The exhibition title refers to the one-act play written by the playwright Harold Pinter, which Wang and Pulman watched together many years ago when they lived in London. The impact which Wang felt after watching the play has persisted for many years, and has become the inspiration of this duo exhibition centering on painterliness.
Having traveled from Taichung’s Qingshui to London in the UK, Wang has again returned to her hometown in Taichung, where she has remained since 2020 due to the global pandemic. Over the years, she has conveyed her contemplation on the interconnections between personal experiences and external sceneries through painting. To the artist, the formation of abstract painting is incorporated with life experiences which defy descriptions of words. Standing in front of the flat canvas, the artist reflects repeatedly on personal encounters, transforming them into sensory experiences visible to the eye. The new body of work on view in this exhibition is informed by abstract vocabularies newly formulated by Wang. In the paintings, “light” delineated with light ink shines through the crevices of large brushstrokes vividly charged with momentum, enriching the artist’s well-executed and iconic painting of “complex space.” 
From Manchester to Qingshui, Pulman has realized, in the modern 21st-century, a personal “grand tour,” an idea popular in the 18th-century Europe, and has transformed himself into a contemporary flâneur traversing through distant, aloof cultural relations. His latest painting series, The Bathers of Guguan, is inspired by a trip exploring Taichung’s mountains two years ago, during which he encountered a group of bathers swimming in and resting on Dajia River. Using the unique technique of impasto painting to express the material tension of paint, the concrete images of rural landscape are transformed by the abstract color blocks to create the effect of defamiliarization. Visualizing Pulman’s artistic gaze and careful delineation, The Bathers of Guguan immerses the audience in the splendid natural scenery constructed with the artist’s mastery of paint.
 Chang, Fang-Wei. “The becoming of dual/multiple complexities.” 2018